Los Malinches started driven by an
interest to recreate a band able to bring back the sounds from
the nueva ola and Psych Garage Surf, which were protagonists in
a lot of latin american groups, by the end of the sixties. It
all began at Precolombino Studios, 2016, producing only analogically,
until they released their first singles, one of those in vinil
format and through LMI Records, containing the songs “Saeta”
and “Nunca”. Besides that, they already have a lot
of audiovisual material available across the main digital platforms.
They also join the new Rhythm and Blues star, Tito Ramírez,
in his second single, released in 2017.

In 2018, their first LP, “En el Agua”,
will be released. Everything looks bright for this new band, which
during live performances sets up a powerful combo and has as its
members musicians from Galleta Piluda and Los Granadians del espacio
exterior (among others).
Don’t wait up to listen to their music, able to embrace
genres such as popsike, freakbeat, garage psych, surf, latin rock,
etc…

PROMO VÍDEO!!

https://www.youtube.com/watch?v=vN5V97uCNJ4&feature=youtu.be

KAMINARI
VOL 2 - 19 MORE JAPANESE GARAGE MONSTERS! LP/CD
GROO0063LP

It’s already two years since volume one of ‘Kaminari’?
Wow! Time flies, but things changed. For the best. Since late 2005
there was a new door open for some of today’s most exciting
Japanese rock n roll and garage bands to be able to showcase their
music abroad. This buzz about the healthy Japanese scene even inspired
other more established labels to step forward and try their luck
in the Japanese camp.
What they miss is the inside knowledge of the Japanese underground
scene and language domain. Luckily Groovie Records has Mr. Chris
Jack of the mighty Routes onboard. Having a direct ear to ground
, and speaking the language means he’s the best man to compile
‘Kaminari’. Two volumes under his belt and the results
are ACE!
True to its original concept this new volume of ‘Kaminari’
brings you another batch of 19 exciting underground bands from all
over Japan (Tokyo, Osaka, Nagoya, Hokkaido, Kobe…). While
some names might sound familiar, others will sound new but all,
and I mean ALL, of them deserve your full attention. Older bands
together with the newbies ready to storm your Saturday night out.
If garage rock, trash punk, 60’s beat, fuzz or surf is your
thing then you’ll dig ‘Kaminari’ like candy.

The bar is set higher and I can’t wait for volume 3. Hope
it doesn’t take another two years. One thing I’m pretty
sure: In the near future we’ll hear more about these bands,
hopefully with more releases in and especially out of Japan.
H. Mitsuhirato

The name of the band and the cover
of the disc explicitly reveal the influence: Secos&Molhados.
Investing in androgenia, progressive rock and samba-soul, Assim
Assado tried to be a response of the smallCID label to the enormous
success that the Secos&Molhados did to the young public. Led
by Miguel de Deus (formerly Os Brazões), who signed most
of the compositions and assumed the guitar and vocals, the group
never took off, leaving only this LP, now almost forgotten. Curiosity:
in 1977 Miguel de Deus falls headlong into funk, casting the rather
interesting (and rare) "Black Soul Brothers" Also repressed
on Groovie Records.

Band
formed by Miguel de Deus in 1974, inspired by the Secos&Molhados
and making clear both in the name, which is copied from a song
of Secos&Molhados, both on the cover of the band's only album.
Also the visual was well androgen but the Music, a mixture of
psychedelic, Progressive and a strong touch of Brazilian Soul
music. The only album that had the same name as the band, did
not get repercussion despite presenting a lot of quality. Now
the repress of this rare pearl brings to the light the huge talent
of Miguel De Deus.

Free-Son was composed
8 musicians researchers of Brazilian musical origins, released in
1971 its only and rare LP for Solar Fidelity.
The album Banguelê (name given to a rhythm and dance of African
slaves) consists of 12 short tracks that, as written in the backsleeve
“seek a new musical message essentially ours, with common
language to all people and that was "hotter” that the
rhythms of the time.“ Many styles are present, mixing Latin,
African rhythms, samba rock and others as funk, psychedelic rock
and jazz. It is almost all instrumental, well arranged with killer
wah wah guitar, organ and percussion (cuíca, tumbadora) work.
The vocal part is limited only to some screams. No highlighting
songs, because it is a solid record. Highly recommended to Brazilian
music fans, funk and rock / Latin jazz….by Perolas do Rock….

A lot of young christian people have two
diferent lives, for one side they sing odes to God, but in the
other side they dance with the Devil and in sin with Rock'.N'Roll.
This is for those youngsters that wish to know the how much damage
Rock music can do to their souls.

Isolated
geographically in the southern Pacific Ocean, Australian rock musicians
may as well have been plying their trade on another planet as far
as North American, British and European audiences were concerned.
Indeed, in terms of rock music per se, only the Bee Gees (who were
primarily pop) and the Easybeats made any headway internationally,
and only then once they’d relocated to the mother country.
Yet despite its vast distance from the all-important American and
British markets, Australia gave birth to vibrant music scenes that
delved deep into beat, R&B, punk and psychedelia. Many of the
recordings from this period have found their way on to compilations
over the years, most notably Raven Records’ superb Ugly Things
and the noteworthy Sixties Downunder series. Thanks to the dedicated
and exhaustive work of respected Australian music archivist Glenn
A Baker, mastermind behind Raven Records, these priceless gems have
provided a handy introduction to Oz legends like the Missing Links,
the Purple Hearts and the Master’s Apprentices.

Less
celebrated than many of their Australian contemporaries but arguably
more significant in the creative stakes was Melbourne’s
Wild Cherries. Where most Oz bands during those halcyon days blatantly
wore their influences on their sleeves, the Wild Cherries were
uniquely original and uncompromising in their delivery and execution.
“Exciting, revolutionary excursions into a musical void
with no concessions to commercial demands” is how Australian
rock journalist Ian McFarlane describes the band’s music
in his superb Encyclopedia of Australian Rock and Pop.
The 16 tracks are the ones that Australian labes didnt want to
put out on a recording, to wild for them, so expect not more than
that on this LP. The inside inner brings a ton of photos and texts
by Nick Warburton.

If you are in 60's savage stuff as
The Kinks or The Pretty Things or even in to more late 60's psicadelia,
this is for you.

LOS TONES - WHAT HAPPENED GROO060LP
Since releasing their debut LP 'Psychotropic' in late 2014 the Sydney
based quartet have toured Europe (twice), Brazil and Japan as well
as sharing the stage with: Thee Oh Sees, Night Beats, King Gizzard,
Dead Ghosts, King Kahn & BBQ, The Mummies, Acid Baby Jesus &
Kid Congo.
The new LP WHAT HAPPENED is a punk in the head, even more on psichedelic
roots and fuzz all over.

The Routes
always seem to be do something different stylistically on every
record they release; from their largely R&B influenced debut
album “Left My Mind”, to the playful US garage drenched
“Alligator”, to the Strummin’ Mental madness of
the “Instrumentals” album, right up until “Skeletons”
in 2016 which saw them on more of a modern garage punk trip. It
doesn’t seem to matter what they do, and who plays in the
band; it still unmistakably sounds like The Routes. “In This
Perfect Hell”, the fifth album by The Routes, brings you ten
original songs. No filler and no covers. From the start, you can
tell it’s not going to be your stereotypical garage album.
This time The Routes seemed have strayed far from your average garage
bands comfort zone. They have stripped everything right down in
the playing department, with leader Chris Jack playing pretty much
everything apart from the drums. The stripping down seems to have
the opposite effect, of creating a huge, thick, heavy wall of sound.
The nasty Japanese fuzz pedals, and very simple guitar leads stab
through the wall, and stick into your brain. It’s not exactly
your typical garage, it’s not exactly psych; it’s not
exactly any one thing in particular. Is it a huge mass of perhaps
everything Chris Jack listens to? One wonders if he opened the floodgates
on his musical tastes and just let it all come through? The brain
penetrating heavy fuzz, and Maureen Tucker-esque rhythm of opening
track “Thousand Forgotten Dreams”, instantly tells you
we are again on a new, different tangent. The hypnotic guitars are
actually not unreminiscent of early Spacemen 3 or Jesus and Mary
Chain. “Worry” sounds like it could be the cover of
a long lost Tamrons acetate, being played by The Fall. You have
catchy up-tempo lyrically playful numbers like “Peeling Face”
and “Housework In My Head”, sounding like The Kinks
meet The Modern Lovers, meet Guided By Voices; “Something
Slipped Through My Window” and “Oblivious”, again
see the band in fine songwriting form, with The Routes Acetone organ
resurrected. The Routes take a heavy trip to Gonn land with “Make
You Hate Me More”, yep they always have one “Fuck You”
anthem without fail (without actually swearing in the song of course,
because the lyrics have more than enough hate in them already).
One wonders how many flashbacks were channeled to create the acid
tinged freakout that is “No Permanence”? Is this garage
punk meets Can’s Mother Sky? You could imagine The Lemon Drops
singing “In Years Gone By”, before being having their
minds blown away by the trip that is “Perfect Hell”.
Are you doing well living in this Perfect Hell? Reading what I’ve
written you’d think “That’s ridiculous, how could
all that go together, and sound like one band, or one album?”.
The answer is; it’s so well done, and so subtle. That my friends
is the genius of The Routes. Everything they do sounds like The
Routes, and they sound AMAZING!

For the first time reissued, with the great contribution of Miguel
de Deus's family in São Paulo,
that suplied the amazing collection of photos for the 4 pages inner,
inside the LP.
This limited edition is a highly collectable for fans of brazilian
soul, groove and psychedelia.
It's our contribution to pay respect to one of the most important
brazilian musicians of the
late 60's and early 70's. Main brain of bands like OS BRAZÕES
and ASSIM ASSADO, he let us a
amazing legacy for new generations. This is a small, but more than
deserved homage to him, finally.

Miguel
de Deus was the protagonist of this amazing Afro-Funk movement,
together with a group of “heavy” musicians,
as they were called in those days of consolidation of a strong
Black Power scene, mainly composed of black youth from
the outskirts of the suburbs of São Paulo and Rio de Janeiro,
where the movement
took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia

OS PONTAS - FUZZ JUNGLE - GROO054LP
BLACK VINYL AND COLOUR VINYL
Having emerged from the torn and bloody earth that once belonged
to the Tupiniquim Indians,
OS PONTAS hash out SOUL and FUZZ influenced anthems, instrumentalizing
soundtracks for a
pompadour-shaking-freak-dancing good time. This is the second album,
entitled, “Selva de Fuzz”
(FUZZ JUNGLE), 12 tracks capable of tweaking mustaches and wasting
shoe soles down to their cores.
The Tupi Spirit orders that the party starts now with OS PONTAS,
since after all, they are the soundtrack to the jungle.

CLASSIC
NEO GARAGE, VOX CONTINENTAL, FUZZ GUITARS AND VOODOO DRUMS..
HAILLING FROM THE HOME OF THE PORTUGUESE ROCK N ROLL TOWN, BARREIRO
CITY.
WITH EX-MEMBERS OF THE ACT-UPS, SULLENS, GASOLINES, ETC).
IF YOU LIKE TEENPUNK AS THE GRUESOMES, FUZZTONES, 80'S NEO GARAGE...THIS
IS FOR YOU!!

They played rock’n’roll like
nobody else in Portugal during the middle
80’s. Played all around in the country, mixing blues, rockabilly
and punk rock.
For 3 years they planted the seeds of what would come next, influencing
tons of other bands and musicians around, and left a long legacy
till today.
Formed in 1985 in Lisbon they start their wild and primitive rock’n’roll
adventure in 1986 with the complete formation, making a legion
of fans all around Portugal.

In this LP we collected all the studio
recordings, released only in a limited tape edition in 86,
and some live recordings also.
Dont matter if you like rock n roll, indie, punk, rap, hip-hop,
soul or some other shitty kind of music,
you will die to have a copy of this gemm, you gonna dance after
midnight with the werewolves!!!!

THE DIRTY COAL TRAIN - SUPER
SCUM LP - GROO053LP
There is something that shines more boldly in the career of The
Dirty Coal Train than its urgent and brutal music. The submission
and hard love they have for their work!! and the constant search
for new musical environments. Their music is just the reflection
of an uglier world where mainstream society avoids showing their
true face. This is a real fight, a fight from the outside. Professional
outsiders and lovers of Rock'n'roll´s true cause. Fearing
no fear, no violence, oppression, hatred nor ignorance. This fight
is inherent and visible
i
n each of their albums, and "Super Scum" is no exception.
It has been so, and will always be for those who love this struggle.
Always starting from scratch, to begin all over again and not renounce
the privilege of playing often to hostile audiences. This urgency
engraved in each of The Dirty Coal Train´s songs is vital
to the unfolding of "Super Scum"´s history: a celebration
of a past they love but with a primitive / modern embracing and
no compromise to those more nostalgic shots. This is how great music
is done: great beginnings and endings with little polishment. For
The Dirty Coal Train Rock n Roll will always be a last, cheerful
salvation. Here's an album that takes risks and explores the pleasures
of Rock n Roll and tells us that it is worth fighting for this type
of disease, this kind of cause,... this music. Not an imposed war
but a union of struggle, friends and comrades that will shape around
the same flag. Besides Rev Jess Coltrane and his muse Conchita Coltrane,
artill
e
ry is heavier and oiled in this LP with collaboration from Coimbra´s
hard wing: Carlos Mendes (drums) and Pedro Calhau (Sax) along Ana
Banana Coltrane and Eduardo Vinhas. A house well composed with a
well-built concept, well outlined and with an excellent graphic
work. An arduous but successful fight, a man and a woman with patience
of a saint and as courageous as a thousand Spartans. As always,
the scum wins. Rock on. "X

"In The Shade of the Purple Sun" is exactly the
sort of fairytale concoction you'd expect to emerge from the same
minds as that introduction,with its attractively lurid sleeve hinting
further at the delights within, with little in the way of subtlety,
but plenty of finesse. The Karovas Milkshake aren't new to this
game - their debut E.P was released in 2010 - and their experience
shows with this fine release. It's one for the revivalists who savour
vintage production techniques, over new innovations, and approached
from this angle,
there's plenty to savour here. An obvious love for vintage U.K psychedelia
of the mid to late sixties is used as a starting point, with many
other period appropriate appropriations helping to diversify "In
The Shade of the Purple Sun" beyond the ambitions of many like-minded
artists. "Purple Sun of Glastonbury" is probably the
most overtly psychedelic track here, and almost certainly the best.
Led by a Brian Jones worthy sitar riff, and a tribal vocal chant,
it exerts a hypnotic charm that could last all day as far as I'm
concerned.
The backwards guitar section in the middle is an expertly manipulated,
"Revolver"esque treat,
and the catchy 'ba ba ba' pop outro digs its hooks in irresistibly.
So much has happened on the journey from point a to b that it's
hard to believe we're still listening to the same song.
The highest recommendation I can give is that picking that particular
highlight was not an easy task. There's much more to love here,
from the bluesy "Howl" (check out the Robbie Krieger guitars!),
to the flawless freakbeat of "When The Night Falls", to
the sublimely ridiculous, Syd Barret-on-speed "Apple Pie".
Nathan Ford

VIDEO: https://www.youtube.com/watch?v=8xBlbS4DUQE

SIDE 1
1.Easy for You
2.Cryptique
3.Howl
4.Sugary Life
5.Purple Sun of Glastonbury